Slow Made Pottery

I choose to make slow made pottery… that is one at a time, by my hands only.

Here is a little video with some Sunday music, (slowed down a bit more than usual, for effect).

This short little video shows me trimming a plate on a foam bat. The plate is pushed into the foam with my fingers. I use a large lid from a jar to evenly distribute the pressure of my fingers, so as not to dent the bottom of the pot. Plates create lots of ribbon like trimmings!

These particular plates that I am trimming are for a custom order of plates and chalices. I will be making ten plates (aka Paten) and ten chalices for a church in Southern California.


To purchase Chalices and Plates visit my shop here.

Chalice and Paten


Communion Set

Recently a priest (to be) contacted me, asking if I would make him a communion set for his ordination, (chalice, paten, cruets and tray).  It was a happy surprise for me as I don’t get to make these too often.  I really enjoy making the chalice form, and I am taken with the challenge of making the set work as one.  

I grew up Catholic, and spent every Sunday sitting at Mass, half  listening and half with my mind submerged in the liturgical art that filled the church.  The stained glass windows intrigued me… I would get lost in the ornate  compositions, detailed with jewel-like buttons of glass… round blobs of color, bulging from the otherwise flat pane glass.  I stared intently at the gold chalice, plate, and candlesticks on the altar.  I walked up nervously when asked to bring the gifts of water and wine to the altar… sensing how it felt in my hands, hoping I would not spill any.   All of this and more, I remember so clearly. 

As I matured I began to ask why is everything gold when the priest’s homily was telling us about this rebel Jesus, who turned the money changers tables in the temple. This Jesus who spoke of the poor and marginalized. This Jesus who embodied simplicity.  So in light of this I began make this chalice and plate sans gold.  I wanted it to speak of  transcendence, and not purely a focus on the object itself.  I wanted it to be grounded yet lead your eyes upward.  I chose porcelain, a pure white, which has the ability to capture the glassy jewel-like quality of the glaze. 

I decided to make this a project of mine when I was studying at Alfred University… it became my senior thesis.  After graduation I made quite a few sets for churches.  Now many years later it is nice to revisit these forms as a more experienced potter… they seem to be a bit more colorful than the originals from my college days.